#pronit

[easternblocrelics]

Pronit label generic 45 rpm (EP) record jacket from Poland

[billlaotian]

[rwpohl]

reach out, the keith mansfield orchestra 1968 (holland, dozier, holland)

[soulmusicsongs]

Biała Sowa, Biała Dama, Biały Kruk - Kram (Biała Sowa, Biała Dama, Biały Kruk, 1976)

[thelemoncoffee]

are there any headcanons that you do not jell with? Like ick headcanons that are just... not it

off the top of my head? uuuuh three come to mind

the uncomfy ammout of hcs that make male characters who are slightly feminin trans just because they look feminin, the tendancy to shrinkwrap Kokichi, and like- 90% of pregame interpritations

the first one is kinda bad just in general imo because it's stereotyping even if not done intentionally, and is reinforced by the fact that no one ever hcs the characters who aren't slightly "fem" as trans. i kinda just on principal don't click any fics tagged with trans Kokichi or Shuichi.

for the shrinkwrapped Kokichi it's actually kinda me being petty. i never liked the habit so many people have of making him sickly thin, expecially when it was done in savior Shuichi fics (which i also hate, but that's a writing choice and not hc). buuuut i was willing to kinda over look it for a while and just go "hey guys a little diversity maybe?" at best, but then that DRS pronitional poster was released and everyone and their mom was clowning on it for Kokichi having abs and it really rubbed me the wrong way seeing how actively hostile to Kokichi being fit everyone was. ever since i've kinda been bitey about the shrinkwrapped Kokichi hcs

finally the pregrames. i don't think i need to explain the pregames. those are infamous and i'm glad more people are going "hm... that's not right"

i do try to be as open as i can with other people's hcs but no one is capable of tolorsting everything. i probably have more hcs i don't like but they're not coming to me eepy mind rn

[mywifeleftme]

71: Kwartet Jorgi // Kwartet Jorgi

Kwartet Jorgi Kwartet Jorgi 1987, Pronit

Music for morel foraging in the year 1249 A.D., or combing long blonde hair in a ruined tower, played on violin, guitar, cello, and shepherd’s pipes. Absolute hidden gem of progressive folk here, blending Slavonic early music-sounding melodies with the wandering improvisational qualities of jazz. They at times anticipate the lurching, gnawing cello-heavy scores of the recent bumper crop of folk horror films (especially on album highlight “Olmorts Olof Svensson”), but there’s no sinister intent to Kwartet Jorgi’s music. Rather, they’re seeking to capture the clamour of bogs, bird cries in the higher canopy, airy sounds in the broader ‘soughing’ adjectival universe. I’m usually no great lover of the flute or pipes as a lead instrument, but shepherd’s pipes player and primary composer Maciej Rychly exploits the full possibilities of his instrument, giving these lengthy instrumental settings a vocal protagonist.

Though the emphasis on flute and the proggy grooves of the “Muzyka jaskini łotrów” (“Rogues’ Cave Music”) suite bring to mind early New Agers like Mike Oldfield, Kwartet Jorgi largely succeed in the liner notes’ stated goal of “reaching for the sounds and obvious things that each of us passes by without hearing.” It’s a beautiful recording, and one worth rediscovering by today’s woodland cultists.

71/365

[ozkar-krapo]

Ernest BRYLL & Wojciech TRZCIŃSKI

"Kolęda Nocka"

(LP. Pronit. 1981) [PL]

[waydk]

15th edition of UDRI’s publication Mumbai Reader 22|23 - Civil Society and the City captures 24 original stories of civic action that have shaped your city. This reader is a chronicle of people’s journeys, their learnings and their impact across key urban themes woven together vividly from the threads of activism, history, and artistic expression. With the following contributions:

■ A Timeline of Mumbai’s Development and Civic Action compiled by UDRI ■ Civic Action Groups in Mumbai by V. Ranganathan ■ The Early Years of New Bombay by Shirish B Patel ■ Shyam Chainani: A Journey from Advocacy to Institutional Impact compiled by Anuradha Parmar and Elaine Agith ■ The Urban Transformer – A Brief History of The Urban Design Research Institute based on an interview with Rahul Mehrotra ■ The Story of the Kala Ghoda Arts District, Kala Ghoda Association and Kala Ghoda Arts Festival based on an interview with Rahul Mehrotra and Brinda Miller ■ Timeline of Mumbai Textile Mill Redevelopment and Recycling Urban Land by Charles Correa, Edited by Darryl D’ Monte ■ Bombay Imagined – An Illustrated History of the Unbuilt City by Robert Stephens ■ Nivara Hakk Then and Now: The Struggle for Housing Rights by Gurbir Singh ■ Restoring Mumbai’s Open Spaces based on an interview with P K Das ■ The Creation of SPARC and its Foundational Strategy Formations by Sheela Patel ■ A Glimpse of NPCCA’s Journey in Reclaiming Public Spaces by Atul Kumar and Swarn Kohli ■ Citizens Can Make Transformational Changes in Their Surrounds by Shirin Bharucha and Nayana Kathpalia ■ The Story of NAGAR by Nayana Kathpalia and Meher Rafaat ■ Saving Mumbai’s Sole Heritage Botanical Garden: The Struggle of the Save Rani Bagh Botanical Garden Foundation by Hutokshi Rustomfram and Shubhada Nikharge ■ The Story of AGNI: Cyrus Guzder in conversation with D. M. Sukthankar ■ Towards an Empowered and Accountable Local Governance by Nitai Mehta, Sumangali Gada and Anuj Bhagwati ■ The Story of Civis by Antaraa Vasudev and Divya Pinge Civic Action to Protect Mangroves at the Turn of the Century by Rishi Aggarwal ■ Beyond the Silent Struggles: The Story of Awaaz Foundation by Sumaira Abdulali ■ For the Right to Water by Sitaram Shelar ■ Save Aarey, Save Mumbai by Stalin Dayanand ■ Narratives from the Bandra Collective by Sameep Padora, Samir D‘Monte, Pronit Nath, Robert Verrijt and Zameer Shakir Basrai ■ Space and Hip-hop: The Birth and Evolution of Mumbai’s Underground Music Scene by Arushi Khare based on an interview with Tushar Adhav and Ashwini Hiremath ■ Fisherfolk Resistance to the Coastal Road: The Arenas of Struggle by Shweta Wagh ■ From Up There They Were Just Numbers by Amrita Gupta, Anuradha Pathak, Anant Jain and Kush Badhwar

[iitroorkee]

Unveiling our first pronite star of Thomso’23 presented by @realmeindia , none other than the sensational Jonita Gandhi✨

Join us for a musical journey on 13th October, 8 PM onwards. Elysium's magic awaits—don't miss it!!

[thedesignhousecompany]

The Design House Company  - Mumbai Based Interior Design Studio.

The Design House Company is an Interior Design Studio founded by Mansi Sethna Pandey in 2010. A graduate of the Rachana Sansad School Of Interior Design, Mansi is an interior and product designer who has worked with leading architecture firms such as Talati & Panthaky and architect Pronit Nath of Urban Studio India, to name a few, before founding her own practice.

Our objective is to visualize innovative ideas to create spaces that are functional and aesthetically beautiful. We design each space  according to the owner’s predilections and archetype and transform it into a space that they can connect with. We understand that all projects come with their own set of design challenges and it is this journey of creating and learning from new experiences that we enjoy the most!

We have a well equipped studio with complete facilities for end-to-end design solutions. Our well trained design team undertakes professional designing jobs and execute them in close co-ordination with various agencies engaged for the same. The site work is closely monitored by the site coordinators and their teams that are designated for the particular sites ensuring complete co-ordination between the client and the agencies.

We exclusively practice residential and commercial spaces which are both functional and fancy. Along with designing we style and curate spaces with artworks and furniture that is custom made according to the client’s persona and taste. Our projects portray creativity and various aesthetic expressions blending into designs that are both practical and perceptive.

We have worked on various projects in and outside the city which includes several residential apartments in high rises to bungalows in the hills. Our aim is to visualize innovative ideas and create beautiful spaces.

[onlinejournale]

Why did I get anxious the moment Guneev suggested Escobar?

1. Is it because it is a bar/pub and I have never been to one with friends?

- Kind of because while I did go to Vice with Aditi and Soumya, this will be my first proper party with drinking, smoking and vaping.

2. Is it because most people there will have more experience than i do?

- yes. I kind of want to impress people. I have never had alcohol or smoked or vaped. Plus dad will have to pick me up toh I can't even do any of those things.

2.1. they're all rich people who have their own rooms and have no issues spending a shit ton of money. I don't know how if I am even allowed to go for pronite. Aditi and Soumya most likely won't be there so this thing just scares me.

2.2. everybody is super thin and super fit. They'll wear really cute clothes and I have no clue how to behave there, whether I'll get carded or not, and whatever else that might happen.

[sullenarchives]

Eastern Bloc Songs

First published in The Wire 418, December 2018. The curator, Wayne Burrows, responded on Twitter shortly after this was published that the exhibition catalogue included much of the contextual information missing in the show. Having perused the accompanying book, which is mostly reproductions of song lyrics, I can say that's absolutely not the case.

Eastern Bloc Songs

Centrala Space, Birmingham, UK

This archival show, curated by Nottingham-based writer Wayne Burrows, of audiovisual recordings, records and magazine facsimiles from the Eastern Bloc pop industry feels at once panoramic and curiously narrow. Burrows, who collected the material over a number of years, covers a huge time span, 1963 to 1988, but only three countries, with most of the material coming from the former Czechoslovakia around 1968. With very little contextual information and haphazard labelling, it forms a vast and sometimes bewildering info-dump, that would tell a very different narrative from that of the Anglophone canon of post-war Eastern European culture, if you could ever extract it from the accumulation of period detail.

A set of rather schematic assumptions still governs the reception of Eastern Bloc music. Dissident and samizdat culture is always somehow aesthetically higher than the products of state-supervised record labels like Czechoslovakia's Supraphon and Poland's Pronit, its creativity spurred by the official limits placed on what Cold Warriors used euphemistically to call “civil society”. The picture that emerges faced with at least some of that product is altogether stranger. A wall of photos of Polish and Czechoslovak stars – Marta Kubišová, Helena Vondráčková, Václav Neckář, Czeław Nieman – shows them in outfits that wouldn't be out of place in a 1964 Top Of The Pops episode. Three vitrines of sleeves show the evolution of records across the period: the early 60s models have the clean but stuffy contemporary design of EMI and Polydor. One of four screens shows Kubišová's 1969 film Proudy odnesou lasku, directed by Jan Nĕmec, whose 1966 satire A Report On The Party And Its Guests was banned in Czechoslovakia. Kubišová, who resembles Rita Tushingham if she'd taken a career in chanson, rides in a jeep through a bomb-site, surrounded by children in army jackets and later slithers around sets decorated with the kind of occult imagery later to turn up in Jaromil Jireš's Valerie And Her Week Of Wonders (1970). On another screen, her contemporaries Hana and Petr Ulrychovi mount a controlled and ever-escalating prog assault with choirs and horn sections between guitar spray; Neckár and Golden Kids stretch The Electric Prunes' garage psych until it almost snaps. With the exception of a brief appearance from Plastic People Of The Universe, hardly anyone here is known in the West, underground or mainstream.

If the structure of feeling of the various artistic New Waves of Eastern Europe – Andrzej Wajda, Miloš Forman, Miklós Jancsó and Věra Chytilová would be the golden names – formed a labyrinth of rage, irony, naivete, plain speaking and soiled glamour, it's no surprise that the pop of that period is racked by the same rich contradictions. But it's hard to tell where all of this fits. Is it just a corrective to the historical emphasis on Communist states' high-minded sponsorship of culture, as in Poland's PRES? Or to the coffee-table fetishisation of underground bands, when 'underground' required a very literal distance from official culture and its attendant police spies? How did the publics of the Eastern Bloc, caught between a socialist culture industry and a dissidence they may have no lived connection to, really feel about this music? The sometimes astounding sounds and visuals here give no answers, only the languid stares of semi-hippie cover girls, looking off to an unguessed future.

[easternblocrelics]

Pronit label generic 45 rpm (EP) record jacket from Poland

[soulmusicsongs]

Nasze Kung Fu- Kram (Biała Sowa, Biała Dama, Biały Kruk, 1976)

[musicmakesyousmart]

Orkiestra Polskiego Radia I Telewizji W Łodzi - Niezapomniane Melodie

Pronit

1968

[rp-kat]

VooDoo - Metalmania

1987